Stuart Hall ‘taught me how Britain was founded on race and class – and how the media were central to those structures’.

March 2, 2017 – I first started reading Stuart Hall, the cultural theorist, in the early 1990s as an undergraduate student in Britain. The heyday of overt tabloid racism was over by then, but new styles of racist reporting were emerging.

On the one hand, cultural identity was an increasing focus, with much of the media echoing the idea that the presence of blacks and Asians undermined a cohesive sense of Britishness. On the other hand, the small number of refugees arriving in Britain were vilified as scroungers and cheats.

When a few hundred gypsies settled in Dover on England’s south coast, fleeing neo-Nazi gangs in the Czech Republic and Slovakia, Rupert Murdoch’s best-selling Sun newspaper called them "Slovak Spongers" and "Giro Czechs" (a pun on a common term for welfare payments) and suggested "teaching the gypsies two words, the second one being off".

This kind of media coverage, of course, continues to this day. It is easy to denounce, but harder to cogently analyse it. Hall’s work helped me to get beyond simplistic explanations that put the blame on an inherent English racism or mechanical pursuit of profit.

Hall’s starting point was Marxism. But he followed another African-Caribbean scholar, Frantz Fanon, in his recommendation that Marxist analysis be "slightly stretched" in dealing with questions of race and colonialism. To understand the Jamaican society in which he had grown up, Hall combined the Marxist categories of class and capitalism with insights into the role of culture in colonialism. When Hall settled in England in 1951, he used the same approach to understand how racism functioned there.

To the columnists who supposed that Asian and black immigration to Britain was an alien cultural disruption that undermined a previously stable society, Hall’s response was that Britain had not become multicultural because of postcolonial migration.

Multiculturalism had been there much longer as an integral part of Britain’s imperial project. "It is in the sugar you stir; it is in the sinews of the famous British ‘sweet tooth’; it is in the tea-leaves at the bottom of the ‘British’ cuppa," noted Hall. There was no British identity that did not include the sugar plantations of the Caribbean and the tea plantations of Asia, the slave and the coolie.

Hall’s 1978 book Policing the Crisis, co-authored with his colleagues at the Centre for Contemporary Cultural Studies in Birmingham, had the biggest impact on me. It presented a picture of Britain in the 1970s as caught in a crisis of authority. The state, forced to intervene more aggressively to hold together a fracturing society, became more naked in its coercion. And a media-constructed image of black crime became a signifier of this deeper crisis. The component parts of Thatcherism were being laid out.

In Hall’s account, racism was not just a matter of individual attitudes and biases. Race was a key constituent of the social and economic structure, a "principal modality" by which class society was experienced and made sense of. Race, he said, was not a marginal concern but right at the centre of British life. At the same time, its significance was never self-contained or transparent; it was a screen on to which deep anxieties were projected and worked through.

One way this happened was through the news media. The conventional approach to analysing the news is to ask whether journalists select and frame events objectively or with bias. Hall’s argument focused instead on how news can have meaning to us only if it aligns with our unconscious "cultural maps" of the social world.

The main ideological function of the news, he argued, is not its alleged liberal or conservative bias but its fidelity to the deeper consensus within which party politics takes place. This happens because the news sources its meanings from the social and political institutions that underpin that consensus, such as the police, the courts, the university, and so on.

No wonder, then, that racism was found in the news as much as on the streets – in both cases, it derived from the same deeper structure that Policing the Crisis had identified. Applied to the 1990s, this method of analysis could explain why refugees, for example, were being treated as such a threat: they too were a screen on to which anxieties deriving from the crisis of Thatcherite Britain were being projected.

It was never Hall’s style to provide final answers. In the 1980s and 1990s, his analysis shifted as he began to view the social world as pure flux: representations floated free of any referent; politics was reduced to the construction of identities.

Ironically, his writing in these later decades, which were more politically stable than the 1970s, pictured society as having no solid foundations. For me, reading Policing the Crisis out of its time in the 1990s taught me how contemporary Britain was solidly founded on race and class – and how the media were central to reproducing those structures.

Arun Kundnani is scholar-in-residence at The Schomburg Center for Research in Black Culture, New York Public Library. He is the author of The Muslims are Coming! Islamophobia, Extremism, and the Domestic War on Terror and The End of Tolerance: Racism in 21st-Century Britain. He writes for The Guardian, Nation, Intercept and The Washington Post, among other publications.

This article forms part of an online project by Al Jazeera English’s media analysis show The Listening Post. Follow #MediaTheorised

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial policies.

March 31, 2017 – BEAVER — If any two things bring Beaver Countians together, it’s food and religion, and Center Township resident Toni Ashfaq will incorporate both to educate residents about Islam during events in Beaver.

“There are a lot of misunderstandings, a lot of false information floating around,” said Ashfaq, a Muslim and the organizer of two Spread Hummus, Not Hate: Meet Your Muslim Neighbor gatherings Wednesday and Saturday at Beaver Area Memorial Library. “We just want people to meet us and see that we’re just like everybody else.”

A Wisconsin native and convert from Catholicism, Ashfaq said she and two friends — Julia Chaney, a Christian, and fellow Muslim Dr. Raniah Khairy, an OB/GYN specialist at Heritage Valley Beaver hospital in Brighton Township — began brainstorming ideas “just to kind of build bridges and promote understanding” because of the “current political climate.”

That brainstorming has resulted in the Spread Hummus, Not Hate gatherings at the library from 6 to 8 p.m. Wednesday and 2 to 4 p.m. Saturday. Ashfaq said they got the idea after learning of a group in Australia doing meetings.

“We thought it was a pretty catchy title,” Ashfaq said with a laugh. Just one gathering was initially planned, but after receiving an “overwhelming” response, she said a second one was added.

Islam has been distorted by politicians and certain media, she said, not naming anyone specifically. Regardless, Ashfaq said Muslims are “not in denial” about Muslims committing violence, but the media too often focuses solely on Islam.

“People get the wrong idea that those people represent the whole faith, and they don’t,” Ashfaq said, recalling a recent conversation in which she told a woman that equating terrorists with Islam would be akin to equating the Ku Klux Klan with Christianity.

A Pop Cultural Lens into the Feudal World

On April 12, 2015 the wildly popular Game of Thrones returned to HBO for a fifth season. No doubt, this season, like all the others, will break ratings records and encourage endless speculation and debate by fans. The television series, based on a projected seven novel series A Song of Ice and Fire by George R. R. Martin, has a devoted following among viewers who are willing to wade through intricate plots, an enormous cast of characters and a world as rich as our own. The series is set in a fantasy world resembling feudal Europe and on the surface feels like many other “sword and sandal” epics, such as Lord of the Rings. However, the series is more than beach side reading — drawing extensively on history, mythology and literature.

Part of the appeal of Game of Thrones (especially for Marxists) is that, unlike Lord of the Rings, there are few clear cut heroes or villains; instead everyone is a shade of gray and presents a harsh view of the feudal world and its sharp class divisions, bourgeois revolutions from above, subordinate status of women, and brutal realpolitik. [1]

A historical materialist analysis of Game of Thrones has been the subject of two essays “Can Marxist theory predict the end of Game of Thrones?” by Paul Mason and “Game of Thrones and the End of Marxist Theory” by Sam Kriss (focusing heavily on the collapse of feudalism with arguments we will discuss in detail below). Kriss’ essay also argues that part of the appeal of Game of Thrones is that the series undermines any idealization of feudalism where “its kings aren’t just cruel and stupid but powerless, trying to bat away rapacious financiers and ghoulish monsters with both flapping, ineffectual hands…[and that this] was the last time that all the mystical creatures that hid in the dark places of society were known, named, and understood.” By contrast, capitalism presents itself as rational, while it shrouds real social relations beneath commodity fetishism and the mysteries of the market. The use of Marxist analysis to fantasies such as Game of Thrones, as Kriss rightfully points out, “helps explain our own demon-haunted world.”

War of the Five Kings and the Breakdown of Feudalism

The main settings for Game of Thrones are the fictional continents of Westeros and Essos. Westeros is made up of seven kingdoms — the Kingdom of the North, the Kingdom of Mountain and Vale, the Kingdom of the Isles and Rivers, the Kingdom of the Rock, the Kingdom of the Reach, the Kingdom of the Stormlands and Dorne. The Seven Kingdoms have existed for thousands of years largely as a feudal society and undergoing periodic dynastic shifts, civil wars and invasions (the dominant religion known as the “Faith of the Seven” forbids slavery).

One of the major plots of the series is a civil war by the noble kingdoms for control of the Iron Throne following the death of the King Robert Baratheon. The “War of the Five Kings,” which begins at the end of the first season initially involves five separate claimants to the Iron Throne (currently reduced to three by the end of season four) involves bloody battles, massacres and dynastic upheavals which devastate Westeros.

17 April, 2014 – In Rebel Without A Cause, from 1955, a 24-year old James Dean, red-jacketed and tight-jeaned, climbs behind the wheel of an old black Mercury. To his right, the opponent he will race to the edge of a cliff hangs out of his driver-side window for a last slug of bravado: “Hey Toreador!”, he jeers. “First man who jumps is a chicken.” Re-inserting a trademark cigarette, Dean flicks on his headlights and hits the gas, and the two cars accelerate towards the brink. Frames from the edge, Dean glances right, grabs for the door and rolls out onto the turf. His adversary, jacket sleeve caught on his door handle and jammed into his driver’s seat, slips wrenchingly over the edge with his car.

Less than a year later, the real life James Dean, whose legacy is the subject of an upcoming retrospective at the BFI, was to die in an echoing event, flipping a race-car on a bend on a California highway. A life mesmerisingly truncated, he left behind only three films, and the gaping absence of the career that might have been. It was a sequence of events morbidly inkeeping with the themes of doomed youth his characters embodied.

The word “iconic” is tossed around ad nauseum, but if ever it were to apply, in the sense of an individual and a star whose off-screen persona outshines the sum of their roles, who bends the fabric of the society in which they live, Dean would surely qualify. In life, and even more so in death, the bee-stung darling of early Technicolor has held the awe of the movie-going public.

But facial anatomy and excellent hair were not the traits for which Dean was influential. Hollywood does not suffer a shortage of cheekbones. He slotted into a blurry interlude following the second world war but before the flowering of the Beat movement, in which the role of a man in society was under sudden and unsuspected dispute. A generation primed for combat found itself at a loss of purpose, and gender roles that were without meaning overnight began to merge and reconfigure themselves.

Behind the Bizarre Ideology That Fuels Adbusters Magazine

By Ramon Glazov

Jacobin Magazine

Oct 28, 2013 - The easy narrative about Adbusters, accepted by its friends and enemies alike, is that it’s, at heart, an anarchist project. To those wishing it well, the magazine is one of the cornerstones of the Left, a wellspring of anti-authoritarian tools meant to revive progressive activism and shake things up for the greater good. For curmudgeonly detractors, “culture jamming” is little more than a powerless rehash of old Yippie protest tactics. Yet anarchism, nearly everyone assumes, is either the best or the worst part of Adbusters.

But those explanations miss a much weirder side of the magazine’s underlying politics.

This March, Adbusters jumped into what ought to seem like a marriage made in hell. It ran a glowing article [4] on Beppe Grillo – Italy’s scruffier answer to America’s Truther champion Alex Jones – calling him “nuanced, fresh, bold, and committed as a politician,” with “a performance artist edge” and “anti-austerity ideas… [C]ountries around the world, from Greece to the US, can look to [him] for inspiration.” Grillo, the piece gushed, was “planting the seed of a renewed – accountable, fresh, rational, responsible, energized – left, that we can hope germinates worldwide.”

Completely unmentioned was the real reason Grillo is so controversial in Italy: his blog is full of anti-vaccination and 9/11 conspiracy claims, pseudoscientific cancer cures and chemtrail [5]-like theories about Italian incinerator-smoke. And, as Giovanni Tiso noted [6] in July, Grillo’s “5-Star Movement” also has an incredibly creepy backer: Gianroberto Casaleggio, “an online marketing expert whose only known past political sympathies lay with the right-wing separatist Northern League.” Casaleggio has also written kooky manifestoes about re-organizing society through virtual reality technology, with mandatory Internet citizenship and an online world government.

Adbusters could have stopped flirting with Grillo at that point, but it didn’t. Another Grillo puff-piece appeared in its May/June issue. Then the magazine’s outgoing editor-in-chief, Micah White (acknowledged by theNation as “the creator of the #occupywallstreet meme”) recently went solo to form his own “boutique activism consultancy,” promising clients a “discrete service” in “Social Movement Creation.” Two weeks ago, in a YouTube video, White proposed that the next step “after the defeat of Occupy” should be to import Grillo’s 5-Star Movement to the US in time for the 2014 mid-term elections:

After the defeat of Occupy, I don’t believe that there is any choice other than trying to grab power by means of an election victory … This is how I see the future: we could bring the 5-Star Movement to America and have the 5-Star Movement winning elections in Italy and in America, thereby forming an international party, not only with the 5-Star Movement, but with other parties as well.

The day after Adbusters ran its first pro-Grillo article, Der Spiegel compared [7]Grillo’s tone – and sweeping plans to restructure Italy’s parliamentary system – to Mussolini’s rhetoric. Ten days before that, a 5-Star Movement MP, Roberta Lombardi, faced a media scandal [8] after writing a blog post praising early fascism for its “very high regard for the state and protection of the family.”

Most progressives might reconsider their glowing assessment of a party as “the seed for a renewed left” when its leaders peddle absurd conspiracy theories and praise fascists. No such signs from Adbusters or White.

But Grillo may be more than a random ally for the gang at Culture Jammers HQ.

Just where did Adbusters get its defining philosophy? Why was it always so obsessed with ads and consumerism, while hardly focusing on class dynamics until the financial crisis?

In 1989, Adbusters founder Kalle Lasn claimed to have had an epiphany in a supermarket and started a movement to fight branding and advertisement. This wasn’t to be a repeat of Abbie Hoffman’s Steal This Book! [9]-style anarchism, with roots in Proudhon’s famous “property is theft” dictum. Culture jammers weren’t acting to communalize most products, but to “uncool” them by taking on those products’ ads, with their own slickly-produced spoofs.

To them, the brand names bearing the coolness were more important than what the branded products did. It wasn’t drinking itself that their anti-Absolut vodka ads seemed to target, but glamorous logo-brands – as if smokers and alcoholics were hooked solely on label prestige.

The earliest Adbusters website on the Wayback Machine reads like a tamer, more Canadian, version of Alex Jones’ operation. Greeting you on the intro page is a Marshall McLuhan quote about “guerrilla information war.” Above its table of contents is the All Seeing Eye engraving from US currency.

“There’s a war on for your mind!” is the current InfoWars tagline. Not too far from the early Adbusters (the “Journal of the Mental Environment”) which promised to “take on the archetypal mind polluters – Marlboro, Budweiser, Benetton, Coke, McDonalds, Calvin Klein – and beat them at their own game.”

Oddly for a site now considered left-wing, Adbusters 1.0. was cheesily evasive about its political position, claiming to be “neither left nor right, but straight ahead.”

There’s good reason to be suspicious of anyone who pulls that “neither left nor right” line. Though Alex Jones’ InfoWars may not have been directly based on early-days Adbusters, the two were undeniably similar in sentiment. Both take a hostile view to mass media and widely-available consumer products, pushing readers towards an ascetic alternative lifestyle that insulates them from “The System” and its toxic worldliness.

And, as luck would have it, both are also the merchants of the (rarer, more expensive) alternative products needed to live this lifestyle. Alex Jones expounds the virtues of food-hoarding and drives Truthers to amass his survival packs, anti-fluoride filters, and nascent iodine drops; Adbusters flogs Blackspot shoes, Corporate America protest flags, and overpriced culture-jamming kits to “create new ambiences and psychic possibilities.”

With Lasn as its guru, culture jamming became popular among activists in the 1990s. Behind all those “subvertisements” lay one big assumption: regular sheeple were so brainwashed by consumerism that they couldn’t even snicker at rose-petally tampon ads without an enlightened jammer to spell everything out for them. Every adbuster got to feel like Morpheus, unplugging Sleepers from the Matrix with the Red Pill of Situationism.

This view of society wasn’t Marxist, left-liberal, or anarchist, so much as Don Draperist: “We are the cool-makers and the cool-breakers,” Kalle Lasn told an audience of advertising “creatives” in 2006. “More than any other profession, I think that we have the power to change the world.”

Lasn might claim not to believe in leaders, but he believes in elites: marketing professionals with a higher calling, responsible for shepherding public consciousness to save humanity from brands, from themselves.

And by exaggerating the mass media’s ability to zombify the public, jammers could imagine that they, too, had Svengali-like powers over ordinary proles. For all the “tools” Adbusters offered to sway public consciousness – stencilling, stickering, page defacement, supermarket trolley sabotage – there was never much emphasis on social skills, on persuading people with politics instead of bombarding them with theater or treating them like hackable machines.

More than anything, what sets culture jammers apart from social anarchism and weds them to the Grillo camp of quacks is a unifying emphasis on a theory called “mental environmentalism.” Mental environmentalism, Micah White explains, is “the core idea behind Adbusters, the essential critique that motivates our struggle against consumer society.”

For Adbusters, concern over the flow of information goes beyond the desire to protect democratic transparency, freedom of speech or the public’s access to the airwaves. Although these are worthwhile causes, Adbusters instead situates the battle of the mind at the center of its political agenda. Fighting to counter pro-consumerist advertising is done not as a means to an end, but as the end in itself. This shift in emphasis is a crucial element of mental environmentalism.

…

Mental environmentalism is an emergent movement that in the coming years will be recognized as the fundamental social struggle of our era. It is both a unifying struggle – among mental environmentalists there are everything from conservative Mormons to far-left anarchists – and a struggle that finally, concretely explains the cause of the diversity of ills that threaten us.

To escape the mental chains, and finally pull off the glorious emancipatory revolution the left has so long hoped for, we must become meme warriors who, through the use of culture jamming, spark a wave of epiphanies that shatter the consumerist worldview.

“The end in itself.” For culture jammers, posters and billboards don’t justrepresent exploitation, they are the tyranny (“the cause of the diversity of ills that threaten us”), and fighting them trumps all the progressive causes of their would-be allies.

That “neither left nor right” thing? It wasn’t just posturing. Not only is White equally willing to work with “far-left anarchists” and “conservative Mormons” but his mentor Lasn once hoped to guide Occupy into a merger with the Tea Party [10], producing a “hybrid party” that would transcend America’s “rigid left-right divide.”

White’s explanation of how mental pollution works sinks even deeper into conspiracy babble. Sounding a bit like a Scientologist, he tells us that humanity’s biggest problems are due to something called “infotoxins” which enter us through “commercial messaging”:

If a key insight of environmentalism was that external reality, nature, could be polluted by industrial toxins, the key insight of mental environmentalism is that internal reality, our minds, can be polluted by infotoxins. Mental environmentalism draws a connection between the pollution of our minds by commercial messaging and the social, environmental, financial and ethical catastrophes that loom before humanity. Mental environmentalists argue that a whole range of phenomenon from the BP oil spill to the emergence of crony-democracy to the mass extinction of animals to the significant increase in mental illnesses are directly caused by the three thousand advertisements that assault our minds each day. And rather than treat the symptoms, by rushing to scrub the oil-soaked beaches or passing watered-down environmental protection legislation, mental environmentalists target the root cause: the advertising industry that fuels consumerism.

Instead of blaming mental illness rates on obvious culprits – workplace stress, problems at home, school bullying, bad genes, changes to DSM criteria – the “mental environmentalists” at Adbusters pin it all on subliminal infotoxins polluting our precious bodily fluids. How do they prove it? About as well as you can prove rock albums are demon-infested or that 70-million-year-old thetans cause influenza. White has decided that “external” environmentalism just doesn’t go deep enough – only “mental environmentalists,” with their meme wars, are fighting the “root cause.”

Lasn’s “mental environment” writings are just as L. Ron Hubbard-ish as White’s. (His epiphanies spawned the concept, after all.) In 2006, hesuggested to the Guardian [11] that advertising may be the cause of “mood disorders, anxiety attacks and depressions.” Four years later, he co-wrote an article with White repeating the same claims [12], along with new fears that TV was poisoning us with too many sensual images of “pouty lips, pert breasts [and] buns of steel”:

Growing up in a violent, erotically-charged media environment alters our psyches at a bedrock level. … And the constant flow of commercially scripted, violence-laced, pseudo-sex makes us more voyeuristic, insatiable and aggressive. Then, somewhere along the line, nothing – not even rape, torture, genocide, or war porn – shocks us anymore.

The commercial media are to the mental environment what factories are to the physical environment. A factory dumps pollution into the water or air because that’s the most efficient way to produce plastic or wood pulp or steel. A TV station or website pollutes the cultural environment because that’s the most efficient way to produce audiences. It pays to pollute. The psychic fallout is just the cost of putting on the show.

If “mental environmentalism” had a true ally in American political thought, it would be Allan Bloom, with his Platonist neocon fretting about Sony Walkmans and MTV reducing life to cultural impoverishment, a “nonstop, commercially prepackaged masturbational fantasy.” You can’t as easily picture Lasn agreeing with the “Anonymous” brand of anarchism or its “Information wants to be free!” maxims: whenever volume comes up in these mental environment articles, more infomation is apparently worse.

White made this explicit in a July blog post, “Toxic Culture: A Unified Theory of Mental Pollution,” writing:

How do we fight back against the incessant flow of logos, brands, slogans and jingles that submerge our streets, invade our homes and flicker on our screens? We could wage a counteroffensive at the level of content: attacking individual advertisements when they cross the decency line and become deceptive, violent or overly sexual. But this approach is like using napkins to clean up an oil spill. It fails to confront the true danger of advertising … is not in its individual messages but in the damage done to our mental ecology by the sheer volume of its flood.

White has even theorized a much earlier spiritual forefather for Adbustersthan Kalle Lasn: Emile Zola [13], “who wrote what may be the first mental environmentalist short story, Death by Advertising, in 1866” and offered “a deeper look at advertising’s role in inducing a consumerist mindset” with his later novel, Au Bonheur Des Dames. Yes, Zola the social reformer who devoted his career to chronicling the fecund depravity and bestial desires of the underclasses. The guy who wrote a twenty-novel cycle promoting determinist psychology and Second Empire theories about hereditary animal passions of the colonized. Au Bonheur Des Dames is a cautionary tale about the nervous excitation big department stores can wreak on women’s fragile senses.

White hopes to take some morals from Zola’s shorter fiction:

Like junk food can make us obese, junk thoughts and advertisements can make us moronic. …We are, in a literal way, poisoned each time we see an advertisement and that is the essential danger of a consumer society based upon advertising.

…

Zola glimpsed a hundred and forty years ago…that advertising has poisoned our minds and corrupted our culture. As we march toward collapse, the question remains whether we will go passively toward our death and remembered only as a foolish civilization killed by advertising, or whether there remains within us a spark of clarity from which a mental environment movement may catch flame.

Advertising, to culture jammers, is virtually the same kind of universal scapegoat psychiatry became for Scientologists: an insidious, corrupting Demiurge responsible for all evils. But you’ll rarely find paranoia without self-importance. The grander vision, for Lasn, White, and their associates, is a world where marketers have the power to save humanity or destroy it with their “carefully-crafted imagery.” Instead of “clearing” the planet with Hubbard’s E-meter auditing, they hope Zen subvertisments, Buy Nothing Days, and strange hybrid political parties will be the answer.

Given the focus of their psychosis, it can often seem like culture jammers have the same concerns as anarchists and socialists: saving the environment, fighting capitalist exploitation, building a popular movement. But if they hate some of the things leftists also hate, it’s for the wrong reasons – and worse, their solutions are quack ones.

So don’t be surprised by White’s new alliance with Grillo, or Lasn’s dashed hopes for a merger with the Tea Party: Adbusters was never on our side.

What does "cool" even mean in 2013?

By Carl Wilson

Slate Magazine

Last month the electro-psychedelic band MGMT released a video for its “Cool Song No. 2.” It features Michael K. Williams of The Wireas a killer-dealer-lover-healer figure stalking a landscape of vegetation, narcotics labs, rituals, and Caucasians. “What you find shocking, they find amusing,” the singer drones in Syd Barrett-via-Spiritualized mode. The video is loaded with signposts of cool, first among them Williams, who played maybe the coolest TV character of the past decade as the gay Baltimore-drug-world stickup man Omar Little. But would you consider “Cool Song No. 2” genuinely cool, or is it trying too hard? (Is that why it’s called “No. 2”?)

The very question is cruel, of course, and competitive. You can praise the Brooklyn band’s surreal imagination, or you can call it a dull, derivative outfit renting out another artist’s aura to camouflage that it has none of its own. It depends which answer you think makes you cooler.

If that sounds cynical, cynicism is difficult to avoid when the subject of cool arises now. Self-conscious indie rockers are easy targets, vulnerable to charges of recycling half-century-old postures that arguably were purloined from African-American culture in the first place. But what iscool in 2013, and why are we still using this term for what scholar Peter Stearns pegged as “a twentieth-century emotional style”? Often credited to sax player Lester Young in the 1940s, the coinage was in general circulation by the mid-1950s, with Miles Davis’s Birth of the Cooland West Side Story’s finger-snapping gang credo “Cool.” You’d be unlikely to use other decades-old slang—groovy or rad or fly—to endorse any current cultural object, at least with a straight face, but somehow cool remains evergreen.

The standard bearers, however, have changed. Once the rebellious stuff of artists, bohemians, outlaws, and (some) movie stars, coolness is now as likely to be attributed to the latest smartphone or app or the lucre they produce: The iconic statement on the matter has to be Justin Timberlake as Sean Parker saying to Jesse Eisenberg as Mark Zuckerberg in The Social Network, “A million dollars isn’t cool. You know what’s cool? A billion dollars.” That is, provided you earn it before you’re 30—the tech age has also brought on an extreme-youth cult, epitomized by fashion blogger and Rookie magazineeditor Tavi Gevinson, who is a tad less cool now at 17 than she was when she emerged at age 11. What would William S. Burroughs have had to say about that? (Maybe “Just Do It!”)

Cool has come a long way, literally. In a 1973 essay called “An Aesthetic of the Cool,” art historian Robert Farris Thompson traced the concept to the West African Yoruba idea of itutu—a quality of character denoting composure in the face of danger, as well as playfulness, humor, generosity, and conciliation. It was carried to America with slavery and became a code through which to conceal rage and cope with brutality with dignity; it went on to inform the emotional textures of blues, jazz, the Harlem Renaissance, and more, then percolated into the mainstream.

On the 100th anniversary of the birth of the famed novelist, our reporter searches the north African nation for signs of his legacy

By Joshua Hammer

Smithsonian magazine, October 2013,

The Hotel El-Djazair, formerly known as the Hotel Saint-George, is an oasis of calm in the tense city of Algiers. A labyrinth of paved pathways winds through beds of hibiscus, cactuses and roses, shaded by palm and banana trees. In the lobby, bellhops in white tunics and red fezzes escort guests past Persian carpets and walls inlaid with mosaics. Beneath the opulence, violence lurks. During the week I was there, diplomats descended on the El-Djazair to repatriate the bodies of dozens of hostages killed in a shootout at a Sahara natural-gas plant between Al Qaeda in the Islamic Maghreb and the Algerian Army.

Violence was in the air as well in January 1956, when the celebrated writer Albert Camus checked into the Hotel Saint-George. The struggle against French colonialism was escalating, with civilians becoming the primary victims. Camus was a pied-noir—a term meaning “black foot,” perhaps derived from the coal-stained feet of Mediterranean sailors, or the black boots of French soldiers, and used to refer to the one million colonists of European origin living in Algeria during French rule. He had returned after 14 years in France to try to stop his homeland from sliding deeper into war. It was a perilous mission. Right-wing French settlers plotted to assassinate him. Algerian revolutionaries watched over him without his knowledge.

The Casablanca-style intrigue—freedom fighters, spies and an exotic North African setting—seemed appropriate. Camus, after all, was often thought of as a literary Humphrey Bogart—dashing, irresistible to women, a coolly heroic figure in a dangerous world.

Camus is regarded as a giant of French literature, but it was his North African birthplace that most shaped his life and his art. In a 1936 essay, composed during a bout of homesickness in Prague, he wrote of pining for “my own town on the shores of the Mediterranean…the summer evenings that I love so much, so gentle in the green light and full of young and beautiful women.” Camus set his two most famous works, the novels The Stranger and The Plague, in Algeria, and his perception of existence, a joyful sensuality combined with a recognition of man’s loneliness in an indifferent universe, was formed here.

In 1957, Anders Österling, the permanent secretary of the Swedish Academy, acknowledged the importance of Camus’ Algerian upbringing when he presented him with the Nobel Prize in Literature, a towering achievement, won when he was only 43. Österling attributed Camus’ view of the world in part to a “Mediterranean fatalism whose origin is the certainty that the sunny splendor of the world is only a fugitive moment bound to be blotted out by the shades.”

Camus is “the single reason people outside Algeria know about this country,” says Yazid Ait Mahieddine, a documentary filmmaker and Camus expert in Algiers, as we sit beneath a photograph of the writer in the El- Djazair bar, alongside images of other celebrities who have passed through here, from Dwight Eisenhower to Simone de Beauvoir. “He is our only ambassador.”

Those were the terrifying words of a white police officer — one of those who policed black bodies in low income areas in North Philadelphia in the late 1970s — who caught sight of me carrying the new telescope my mother had just purchased for me.

“I thought you had a weapon,” he said.

The words made me tremble and pause; I felt the sort of bodily stress and deep existential anguish that no teenager should have to endure.

This officer had already inherited those poisonous assumptions and bodily perceptual practices that make up what I call the “white gaze.” He had already come to “see” the black male body as different, deviant, ersatz. He failed to conceive, or perhaps could not conceive, that a black teenage boy living in the Richard Allen Project Homes for very low income families would own a telescope and enjoyed looking at the moons of Jupiter and the rings of Saturn.

A black boy carrying a telescope wasn’t conceivable — unless he had stolen it — given the white racist horizons within which my black body was policed as dangerous. To the officer, I was something (not someone) patently foolish, perhaps monstrous or even fictional. My telescope, for him, was a weapon.

In retrospect, I can see the headlines: “Black Boy Shot and Killed While Searching the Cosmos.”

That was more than 30 years ago. Only last week, our actual headlines were full of reflections on the 1963 March on Washington, the Rev. Dr. Martin Luther King’s “I Have a Dream” speech, and President Obama’s own speech at the steps of the Lincoln Memorial to commemorate it 50 years on. As the many accounts from that long ago day will tell you, much has changed for the better. But some things — those perhaps more deeply embedded in the American psyche — haven’t. In fact, we should recall a speech given by Malcolm X in 1964 in which he said, “For the 20 million of us in America who are of African descent, it is not an American dream; it’s an American nightmare.”

II.

Despite the ringing tones of Obama’s Lincoln Memorial speech, I find myself still often thinking of a more informal and somber talk he gave. And despite the inspirational and ethical force of Dr. King and his work, I’m still thinking about someone who might be considered old news already: Trayvon Martin.

In his now much-quoted White House briefing several weeks ago, not long after the verdict in the trial of George Zimmerman, the president expressed his awareness of the ever-present danger of death for those who inhabit black bodies. “You know, when Trayvon Martin was first shot, I said that this could have been my son,” he said. “Another way of saying that is Trayvon Martin could have been me 35 years ago.” I wait for the day when a white president will say, “There is no way that I could have experienced what Trayvon Martin did (and other black people do) because I’m white and through white privilege I am immune to systemic racial profiling.”

Obama also talked about how black men in this country know what it is like to be followed while shopping and how black men have had the experience of “walking across the street and hearing the locks click on the doors of cars.” I have had this experience on many occasions as whites catch sight of me walking past their cars: Click, click, click, click. Those clicks can be deafening. There are times when I want to become their boogeyman. I want to pull open the car door and shout: “Surprise! You’ve just been car-jacked by a fantasy of your own creation. Now get out of the car.”

The president’s words, perhaps consigned to a long-ago news cycle now, remain powerful: they validate experiences that blacks have undergone in their everyday lives. Obama’s voice resonates with those philosophical voices (Frantz Fanon, for example) that have long attempted to describe the lived interiority of racial experiences. He has also deployed the power of narrative autobiography, which is a significant conceptual tool used insightfully by critical race theorists to discern the clarity and existential and social gravity of what it means to experience white racism. As a black president, he has given voice to the epistemic violence that blacks often face as they are stereotyped and profiled within the context of quotidian social spaces.

III.

David Hume claimed that to be black was to be “like a parrot who speaks a few words plainly.” And Immanuel Kant maintained that to be “black from head to foot” was “clear proof” that what any black person says is stupid. In his “Notes on Virginia,” Thomas Jefferson wrote: “In imagination they [Negroes] are dull, tasteless and anomalous,” and inferior. In the first American Edition of the Encyclopaedia Britannica (1798), the term “Negro” was defined as someone who is cruel, impudent, revengeful, treacherous, nasty, idle, dishonest, a liar and given to stealing.

My point here is to say that the white gaze is global and historically mobile. And its origins, while from Europe, are deeply seated in the making of America.

Black bodies in America continue to be reduced to their surfaces and to stereotypes that are constricting and false, that often force those black bodies to move through social spaces in ways that put white people at ease. We fear that our black bodies incite an accusation. We move in ways that help us to survive the procrustean gazes of white people. We dread that those who see us might feel the irrational fear to stand their ground rather than “finding common ground,” a reference that was made by Bernice King as she spoke about the legacy of her father at the steps of the Lincoln Memorial.

The white gaze is also hegemonic, historically grounded in material relations of white power: it was deemed disrespectful for a black person to violate the white gaze by looking directly into the eyes of someone white. The white gaze is also ethically solipsistic: within it only whites have the capacity of making valid moral judgments.

Even with the unprecedented White House briefing, our national discourse regarding Trayvon Martin and questions of race have failed to produce a critical and historically conscious discourse that sheds light on what it means to be black in an anti-black America. If historical precedent says anything, this failure will only continue. Trayvon Martin, like so many black boys and men, was under surveillance (etymologically, “to keep watch”). Little did he know that on Feb. 26, 2012, that he would enter a space of social control and bodily policing, a kind of Benthamian panoptic nightmare that would truncate his being as suspicious; a space where he was, paradoxically, both invisible and yet hypervisible.

“I am invisible, understand, simply because people [in this case white people] refuse to see me.” Trayvon was invisible to Zimmerman, he was not seen as the black child that he was, trying to make it back home with Skittles and an iced tea. He was not seen as having done nothing wrong, as one who dreams and hopes.

As black, Trayvon was already known and rendered invisible. His childhood and humanity were already criminalized as part of a white racist narrative about black male bodies. Trayvon needed no introduction: “Look, the black; the criminal!”

IV.

Many have argued that the site of violence occurred upon the confrontation between Trayvon and Zimmerman. Yet, the violence began with Zimmerman’s non-emergency dispatch call, a call that was racially assaultive in its discourse, one that used the tropes of anti-black racism. Note, Zimmerman said, “There’s a real suspicious guy.” He also said, “This guy looks like he’s up to no good or he’s on drugs or something.” When asked by the dispatcher, he said, within seconds, that, “He looks black.” Asked what he is wearing, Zimmerman says, “A dark hoodie, like a gray hoodie.” Later, Zimmerman said that “now he’s coming toward me. He’s got his hands in his waist band.” And then, “And he’s a black male.” But what does it mean to be “a real suspicious guy”? What does it mean to look like one is “up to no good”? Zimmerman does not give any details, nothing to buttress the validity of his narration. Keep in mind that Zimmerman is in his vehicle as he provides his narration to the dispatcher. As “the looker,” it is not Zimmerman who is in danger; rather, it is Trayvon Martin, “the looked at,” who is the target of suspicion and possible violence.

After all, it is Trayvon Martin who is wearing the hoodie, a piece of “racialized” attire that apparently signifies black criminality. Zimmerman later said: “Something’s wrong with him. Yep, he’s coming to check me out,” and, “He’s got something in his hands.” Zimmerman also said, “I don’t know what his deal is.” A black young male with “something” in his hands, wearing a hoodie, looking suspicious, and perhaps on drugs, and there being “something wrong with him,” is a racist narrative of fear and frenzy. The history of white supremacy underwrites this interpretation. Within this context of discursive violence, Zimmerman was guilty of an act of aggression against Trayvon Martin, even before the trigger was pulled. Before his physical death, Trayvon Martin was rendered “socially dead” under the weight of Zimmerman’s racist stereotypes. Zimmerman’s aggression was enacted through his gaze, through the act of profiling, through his discourse and through his warped reconstruction of an innocent black boy that instigates white fear.

V.

What does it say about America when to be black is the ontological crime, a crime of simply being?

Perhaps the religious studies scholar Bill Hart is correct: “To be a black man is to be marked for death.” Or as the political philosopher Joy James argues, “Blackness as evil [is] destined for eradication.” Perhaps this is why when writing about the death of his young black son, the social theorist W.E.B. Du Bois said, “All that day and all that night there sat an awful gladness in my heart — nay, blame me not if I see the world thus darkly through the Veil — and my soul whispers ever to me saying, ‘Not dead, not dead, but escaped; not bond, but free.’ ”

Trayvon Martin was killed walking while black. As the protector of all things “gated,” of all things standing on the precipice of being endangered by black male bodies, Zimmerman created the conditions upon which he had no grounds to stand on. Indeed, through his racist stereotypes and his pursuit of Trayvon, he created the conditions that belied the applicability of the stand your ground law and created a situation where Trayvon was killed. This is the narrative that ought to have been told by the attorneys for the family of Trayvon Martin. It is part of the narrative that Obama brilliantly told, one of black bodies being racially policed and having suffered a unique history of racist vitriol in this country.

Yet it is one that is perhaps too late, one already rendered mute and inconsequential by the verdict of “not guilty.”

George Yancy is a professor of philosophy at Duquesne University. He has authored, edited and co-edited 17 books, including “Black Bodies, White Gazes,” “Look, a White!” and (co-edited with Janine Jones) “Pursuing Trayvon Martin.”

Bob Simpson looks at how the ability for arts and culture to thrive relies upon working people’s fight for a space of their own.

“The right to the city is far more than the individual liberty to access urban resources: it is a right to change ourselves by changing the city. It is, moreover, a common rather than an individual right since this transformation inevitably depends upon the exercise of a collective power to reshape the processes of urbanization. The freedom to make and remake our cities and ourselves is, I want to argue, one of the most precious yet most neglected of our human rights.” — David Harvey , The Right to the City

By Bob Simpson

Red Wedge

June 17, 2013 – The 1968 French student-worker uprising popularized the phrase “The Right to the City” from philosopher Henri Lefebvre’s book Le Droit à la ville. According to Lefebvre the right to transform the urban environment cannot be restricted to people who own substantial property, hold citizenship papers or are otherwise deemed to have a higher social status. It means all of us, regardless of race, gender, age, economic status or any narrowly defined category. The city is a place of possibilities and we have a basic human right to make those possibilities realities.

Lefebrve’s subsequent book, The Urban Revolution helped to expand on his Right to the City ideas. Written in 1970, the book speculates rather accurately how urban society would evolve. There is a now a World Charter for the Right to the City which came out of the Social Forum of the Americas held in Ecuador during July 2004. The Right to the City is a global movement as the urban dispossessed around the planet struggle to humanize their own cities.

I was reading Lefebvre’s The Urban Revolution while riding the CTA Red Line on an April morning earlier this year. I was headed to Chicago’s Uptown neighborhood. The economically and racially diverse Uptown community was fighting school closings and the forced exile of working class people to benefit wealthy real estate interests and corporate school privatizers.

View of Uptown from the Wilson CTA stop.

Led by a new organization called Uptown Uprising, Uptown’s embattled residents had called for a rally and march to show how the power of concentrated wealth was destroying a community. With blue skies overhead, I arrived at the Stewart Elementary School playground where Uptown Uprising was gathering. Stewart Elementary, along with Stockton Elementary in Uptown, was scheduled for closing. In Chicago, school closings are often closely linked with financial speculation and gentrification. Reggie Spears, the Stewart music teacher, was leading his band students in a lively display of musical talent, while parents and students were making colorful signs on the playground’s artificial turf — for the city is a place of creation.

Marathon Bombing, Sadness and Anger

April 16, 2013 – I lived in the Boston area for 18 years. The Marathon was something that i accepted as part of what it meant to live in Boston, though i was not moved by it. But it was comfortable.

I could not believe it this afternoon when i heard about the bombing. Like many other people i went through immediate denial. I did not want to believe that it actually had happened. Someone had to have made a mistake, i thought. But then there was no denying it.

I was amazed by the first responders. It was not just the official responders, but civilians in the area who came to the aid of those injured. Bostonians can and will come through in a crisis. I have seen it before, and we will probably be forced to see it again.

Yet i found myself thinking that we in the USA believe that these terrorist actions are either new or exceptional, at least for us in this country. We have, of course, heard about state-sponsored or non-state actor terrorism overseas. The Rwanda genocide; Israeli attacks on Gaza; the list goes on. We, in the USA, are always stunned, however, when it happens to us because we believe that somehow we are an exception to this madness. We are not.

But it is also important to remember that there is a long history of homegrown terrorism in the USA. I am not talking about those who have become jihaddists. I am thinking more about the Ku Klux Klan, or Aryan Nation, or Black Guard. The terror that groups like these perpetrated over years was often ignored in large parts of mainstream USA but was central to the experiences of those of us of color and those of us who chose different political directions.

We do not know who was behind the Marathon bombings. It could have been someone completely insane. It might have been motivated by domestic or international political matters. In any case it was carried out by a sociopath and has, at least as of this moment, killed at least three people, wounded dozens, and destroyed the lives of probably hundreds of people.

The Boston Marathon will never be the same. Boston will never be the same. And today we share so much in common with victims around the world of state-sponsored terrorism and the actions of terrorist groups who have decided that there is a percentage in killing civilians, as reprehensible as most of us may find it.

My heart is with the families of the dead and wounded, and hoping for a speedy recovery of the wounded.

i also hope for the capture of the criminals who carried out this 2013 Boston massacre. May they never again see the light of day.

April 16, 2013 – As the nation weeps for the victims of the horrific bombing in Boston yesterday, one searches for lessons amid the carnage, and finds few. That violence is unacceptable stands out as one, sure. That hatred — for humanity, for life, or whatever else might have animated the bomber or bombers — is never the source of constructive human action seems like a reasonably close second.

But I dare say there is more; a much less obvious and far more uncomfortable lesson, which many are loathe to learn, but which an event such as this makes readily apparent, and which we must acknowledge, no matter how painful.

It is a lesson about race, about whiteness, and specifically, about white privilege.

I know you don’t want to hear it. But I don’t much care. So here goes.

White privilege is knowing that even if the Boston Marathon bomber turns out to be white, his or her identity will not result in white folks generally being singled out for suspicion by law enforcement, or the TSA, or the FBI.

White privilege is knowing that even if the bomber turns out to be white, no one will call for whites to be profiled as terrorists as a result, subjected to special screening, or threatened with deportation.

And white privilege is being able to know nothing about the crimes committed by most of the terrorists listed above — indeed, never to have so much as heard most of their names — let alone to make assumptions about the role that their racial or ethnic identity may have played in their crimes.

White privilege is knowing that if the Boston bomber turns out to be white, we will not be asked to denounce him or her, so as to prove our own loyalties to the common national good. It is knowing that the next time a cop sees one of us standing on the sidewalk cheering on runners in a marathon, that cop will say exactly nothing to us as a result.

White privilege is knowing that if you are a white student from Nebraska — as opposed to, say, a student from Saudi Arabia — that no one, and I mean no one would think it important to detain and question you in the wake of a bombing such as the one at the Boston Marathon.

And white privilege is knowing that if this bomber turns out to be white, the United States government will not bomb whatever corn field or mountain town or stale suburb from which said bomber came, just to ensure that others like him or her don’t get any ideas. And if he turns out to be a member of the Irish Republican Army we won’t bomb Belfast. And if he’s an Italian American Catholic we won’t bomb the Vatican.

In short, white privilege is the thing that allows you (if you’re white) — and me — to view tragic events like this as merely horrific, and from the perspective of pure and innocent victims, rather than having to wonder, and to look over one’s shoulder, and to ask even if only in hushed tones, whether those we pass on the street might think that somehow we were involved.

It is the source of our unearned innocence and the cause of others’ unjustified oppression.